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The present study aims to identify, analyse and illustrate with concrete examples – a selection of art works and famous artists – the complex interaction between art and politics, viewed from an historical perspective. We propose a comparative research of various manners of using art as a political expression tool, through social messages and propaganda discourses, identifying the mechanisms artists use in order to react to different political events, the way they perceived the social issues, and the modalities through which both the censure and the expression liberty shaped the art world. Using examples of art works from the XVIII-XIX century period, but also from the contemporary époque, we analyse the mechanism of reciprocal influence between politics and art, emphasizing the fundamental importance of this peculiar, very dynamic relationship, for the structuration of the social life.

El análisis de una exposición temporal permite estudiar cómo una muestra específica se tensiona no solo por ideas culturales (en este caso también estéticas) de lo que es correcto y pertinente exhibir sino, sobre todo, por las políticas culturales, las prácticas museales y los tejidos sociopolíticos y diplomáticos que explican su proceso de realización y condicionan su morfología curatorial. Su nacimiento fue producto de un padrinazgo binacional. En el marco de la Segunda Guerra Mundial, las alianzas entre países aliados revestían mayor trascendencia. A partir de la revisión de documentación de archivo en cotejo con publicaciones en la prensa de la época presento una propuesta de reconstrucción del proceso histórico de la gestión de esta exhibición temporal, en tanto espacio propicio para la edificación de significados y, por tanto, de poder (el poder de incidir en el imaginario colectivo). A pesar de tratarse de una exposición que permitió llevar a México la producción contemporánea de un artista con liderazgo global, no ha sido estudiada en relación a los mensajes y misiones adjudicados a un muestrario efímero de objetos que, al no enlistar su obra-icono, el mural Guernica, perdió su politizado mensaje republicano y antifascista para transformarse en una muestra de arte de vanguardia.

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El personaje renacentista de Celestina experimentó, a partir del siglo XIX, un nuevo auge. No sólo reapareció en numerosos textos literarios, sino que también se convirtió en un frecuente motivo del arte pictórico. El pintor malagueño Pablo Picasso mostró un gusto especial por Celestina. A lo largo de su obra representó varias veces a la alcahueta, contribuyendo a su elevación a la categoría de mito moderno, esto es, según Roland Barthes, un objeto que transmite un mensaje complementario a su sentido propio. En el caso de Celestina, dicho mensaje remite a una identidad colectiva diametralmente opuesta a lo que se considera el buen gusto. El dibujo Celestina teje recurre al inventario metafórico del folklore para posibilitar la recepción del mito por parte de un público amplio. El retrato Celestina, cuyo modelo fue la dueña de un prostíbulo barcelonés, insiste en la función referencial de la alcahueta, gracias a la que el mito puede perpetuarse en el presente del pintor. Con los grabados de la Suite 347, Picasso reactualiza las prácticas editoriales propias del Renacimiento, haciendo dialogar sus pinturas con sus fuentes textuales. De esta manera, consigue destacar la esencia visual del mito celestinesco.

Pablo Picasso's Landscape with Billboards (1912) evinces a deep and complex relationship with emergent trademark and related intellectual property law in France. Among the three trademarked logos featured prominently in the work is that for Bouillon Kub. Critics, caricaturists, and the Cubists themselves toyed with the visual and textual rhymes between Cubism and Bouillon Kub. But only Picasso in his Landscape with Billboards engaged deeply with the nascent trademark and design protection laws exploited more forcefully by Bouillon Kub than nearly any other brand. This essay is a small part of a larger chapter on Picasso, Cubism, and the semiotics of trademark, which, in turn, is a part of the book project Art™: A History of Modern Art, Authenticity, and Trademarks. [ABSTRACT FROM AUTHOR]

The study analyses the orchestral piece Picassiáda (1958) by Ostrava-based composer Karel Kupka (1927–1985), focussing on the part Smrt Orfeova (in English: The Death of Orpheus). Kupka uses the method of editing assembly, causing a specific excited expression. An important moment of the piece is the inspiration by Pablo Picasso’s illustrations accompanying the edition of Ovid’s Metamorphoses. The analysis looks for elements of musical narrative, which create a unique narrative programme by means of references to the artistic and mythological component. Pieces inspired by ancient themes represent an important part of Kupka’s work. Picassiáda is his most famous piece. The editing assembly method is used throughout Picassiáda; it has a form-creating function within the layout of the piece’s various forms. The inspiration by Picasso’s illustrations is rather free, reflecting the world of ancient culture and mythology with a symbolic background in a modern way. The parallel of both artists’ musical and artistic expression demonstrates itself in Kupka’s work in the form of contrasting cuts of musical surfaces, and in Picasso’s work by the contrast of his monumental and lyrical paintings. Both Kupka’s and Picasso’s work captures the dramatic and ambiguous death of the mythical Orpheus. The narrative analysis of the piece is carried out with a modified methodology of narrative analysis according to Eero Tarasti, who perceives musical narrative as a specific succession of musical events and the creation of tension among binary musical elements. The organising narrative principle of music is isotopy. The articulation of the musical narrative of Picassiáda takes part at three levels of spatiality, temporality and actoriality. The music is modalised through the relationship of the musical structure to myth and artistic inspiration. The narrative analysis of Picassiáda points to a specific, meaningforming alternation of contrasting isotopies, following the narrative structure of the Orpheus myth. The method of editing assembly is the narrative element in music. Modalisation of music through a myth is a supporting method of its interpretation; it points to the deep meaning-related interconnection of the musical and mythological components of the analysed work. [ABSTRACT FROM AUTHOR]

The article presents the discussion on taking possession of, but an orgy of fantasies, projections, substitutions, displacements, even hallucinations. Topics include scorched flesh still smouldering, flaming heads, poorly done prison-like tattoos, words carved into necks, backs, torsos, faces, grotesque bodies; and cacophony of giblets, pigs' trotters, external colons and rectums, gummy eyes for nipples and imploded crepe-paper-like epidermises.

This article explains how the physical and philosophical world of the corrida might nuance our understanding of life and work of the Anglo-Irish artist Francis Bacon, and vice-versa. To this end, the analysis is split into three sections. The first offers a biographical sketch of Bacon’s interest in taurine subject-matter. This background context paves the way for an ethical and aesthetic comparison between the working practices of the painter and the matador. The third and last section interprets his final painting, Study of a Bull, as a vision of fear and pity to suggest Bacon blurred distinctions between man and beast as he neared death.

In Art & Lies (1994), Jeanette Winterson presents three characters who are alter egos of Handel, Picasso, and Sappho. This article focusses on Picasso as an alter ego not only of Pablo Picasso but also of the character itself, whose birth name is Sophia, and of Pablo Picasso’s lovers, who were silenced, abused, and driven to madness like Winterson’s Picasso. The main aspects taken into account are the fact that the character is silenced by her family and that she is sexually abused by her brother in order to understand that her journey towards becoming the madwoman in the attic is induced by the harmful context that she is surrounded by in the same way that occurred to Pablo Picasso’s lovers and to Bertha Mason in Jane Eyre.

The article explores the concept of the Surrealist city, drawing parallels between Surrealist artistic techniques and urban experiences. It delves into various aspects of this idea, including how cities can be seen as dreams, love affairs, palimpsests, poetic texts, psychic labyrinths, and systems of signs, ultimately highlighting the creative and imaginative potential in interpreting and reimagining urban spaces through a Surrealist lens.

Copyright of Apotheke is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Pablo Picasso’s Landscape with Billboards (1912) evinces a deep and complex relationship with emergent trademark and related intellectual property law in France. Among the three trademarked logos featured prominently in the work is that for Bouillon Kub. Critics, caricaturists, and the Cubists themselves toyed with the visual and textual rhymes between Cubism and Bouillon Kub. But only Picasso in his Landscape with Billboards engaged deeply with the nascent trademark and design protection laws exploited more forcefully by Bouillon Kub than nearly any other brand. This essay is a small part of a larger chapter on Picasso, Cubism, and the semiotics of trademark, which, in turn, is a part of the book project Art™: A History of Modern Art, Authenticity, and Trademarks.

This study applied multiple scientific approaches to establish the significance of an old work of art, Red Guitar, by examining its historical origin and the color materials used in its creation. Additionally, the study provides thus far unknown pieces of Olga Picasso’s family history to be added to her biography. Scientific approaches included digital X-ray radiography, X-ray fluorescence spectroscopy, infrared Fourier transform spectroscopy, Raman spectroscopy, and elemental thermal conductivity analysis. This combination of techniques provided a broad confirmation as to when the painting was created. The artwork includes colors (white, black, blue, yellow, green, red, and brown/red) and prevalent use of lead- and iron-based historic pigments—chrome yellow, yellow ochre, and red ochre. It also documents the use of unconventional materials, such as the colorant Pigment Red 4, and nitrocellulose. This investigation led to the conclusion that the artwork, Red Guitar, is authentic and in accordance with Picasso’s work during the first two decades of the 20th century.

O presente ensaio consiste em um relato imagético-textual da docência orientada do Curso de Mestrado em Artes Visuais, do Programa de Pós-Graduação em Artes Visuais da Universidade do Estado de Santa Catarina – PPGAV/UDESC, realizada na disciplina de “Processos Pictóricos” na Graduação em Artes Visuais nas turmas de licenciatura e bacharelado, ministradas pela Prof.ª Dr.ª Jociele Lampert no segundo semestre de 2022 na mesma instituição de ensino. Tomando o artista espanhol Pablo Picasso como ponto de partida na criação de uma proposta/desafio para as turmas da graduação, e adotando o entendimento sobre a experiência estética proposto pelo filósofo e pedagogo norte-americano John Dewey (2010). Entendendo o ateliê como um espaço vivo. Local de articulações entre ensino e aprendizagem, a teoria e a prática não se separam, enquanto elementos geradores de conhecimento. O aprender se dá pelo fazer.

This study applied multiple scientific approaches to establish the significance of an old work of art, Red Guitar, by examining its historical origin and the color materials used in its creation. Additionally, the study provides thus far unknown pieces of Olga Picasso's family history to be added to her biography. Scientific approaches included digital X-ray radiography, X-ray fluorescence spectroscopy, infrared Fourier transform spectroscopy, Raman spectroscopy, and elemental thermal conductivity analysis. This combination of techniques provided a broad confirmation as to when the painting was created. The artwork includes colors (white, black, blue, yellow, green, red, and brown/red) and prevalent use of lead- and iron-based historic pigments—chrome yellow, yellow ochre, and red ochre. It also documents the use of unconventional materials, such as the colorant Pigment Red 4, and nitrocellulose. This investigation led to the conclusion that the artwork, Red Guitar, is authentic and in accordance with Picasso's work during the first two decades of the 20th century. [ABSTRACT FROM AUTHOR]

The Benedictine Archives at Lazkao contain a multitude of propaganda stickers and related visual media that provide a snapshot of the Basque region's artful political culture in the 1970s and 1980s. Some of the most compelling examples include several items that remix Pablo Picasso's Guernica, referencing the famous antiwar painting to become a form of mass-circulated pastiche. This move was somewhat unusual amid the strong nationalist bent of public discourse and art in the Basque Country during this period. Almost entirely unknown outside the region, these materials capture political performance during the decade-long period between the instauration of Spanish democracy (1978) and the fall of the Berlin Wall (1989), when separatist sentiment reached a peak in the Basque Country. This artful visual platform, rendered in the small, focused format of stickers, constitutes a useful index of rhetorical currents within the Basque Country and Spain, as well as an interesting analogue prototype of what we might call, in the twenty-first century, meme culture. Circulated in bars and other public places across the Basque region, and frequently worn upon clothing, the stickers demonstrate a propaganda principle described by Jonathan Auerbach and Russ Castronovo, whereby participants in movements of mass persuasion actively partake in the dissemination and consumption of propaganda. The stickers normally refer to very concrete events (for instance, a one-day celebration, a protest for a concrete situation, etc.). When organized on topics and themes, they create a nonlinear visual account of post-Franco Basque history, providing propaganda narratives that invite performative acts from the audience. This account documents the significance of the vast Benedictine collection for future scholars, analyzing, in detail, four stickers that employ Guernica in their design. It also considers several other representative items from the collections that play on other art forms, as well as pop culture, in their attempt to influence public opinion, politics, and media consumption. [ABSTRACT FROM AUTHOR]

A physical process is characterized as complex when it is difficult to analyze or explain in a simple way. The complexity within an art painting is expected to be high, possibly comparable to that of nature. Therefore, constructions of artists (e.g., paintings, music, literature, etc.) are expected to be also of high complexity since they are produced by numerous human (e.g., logic, instinct, emotions, etc.) and non-human (e.g., quality of paints, paper, tools, etc.) processes interacting with each other in a complex manner. The result of the interaction among various processes is not a white-noise behavior, but one where clusters of high or low values of quantified attributes appear in a non-predictive manner, thus highly increasing the uncertainty and the variability. In this work, we analyze stochastic patterns in terms of the dependence structure of art paintings of Da Vinci and Picasso with a stochastic 2D tool and investigate the similarities or differences among the artworks.

On June 1950, a magnificent book, Corps perdu, with a print run of 220 copies, was published by Éditions Fragrance. On the cover, Aimé Césaire’s name appears at the top, but underneath, Pablo Picasso’s is much larger. How did the two men come to publish this collection? How did they develop their joint work? Corps perdu is the result of a tumultuous history.

Copyright of Ars Longa is the property of Ars Longa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A lo largo de este artículo nos acercaremos a las primeras incursiones de Pablo Picasso en las nuevas tecnologías de principios del siglo XX. Como ejemplo representativo de estos nuevos métodos tecnológicos de la época, analizaremos la relación que se estableció entre Pablo Picasso y el cine, a través del estudio concreto de los vínculos que se instauraron entre el artista y Cinematógrafo Napoleón de Barcelona, durante su juventud. A partir de aquí, valoraremos qué grado de influencia ejerció el cine en la obra temprana de Pablo Picasso mediante el cotejo de diversos datos y testimonios recopilados de autores como Roland Penrose, Pierre Cabanne, Pierre Daix, Palau i Fabre o John Richardson, entre otros, que señalan conexiones relevantes entre determinadas películas proyectadas en Barcelona durante los primeros años del siglo XX en el Cinematógrafo Napoleón y algunas obras de Picasso realizadas en el mismo periodo.

Copyright of Art-E is the property of Suleyman Demirel University, Faculty of Fine Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

128 Kris Kuksi, Prosperity, 2020 Kuksi's sculptures, often wall mounted, are highly complex constellations of found and doctored objects. Kuksi's surreal spatial aspirations, his mnemonic sensibilities and interest in the desiring, fractured Surrealist readings of combinatorial objects give his art great resonance. 5 Kris Kuksi, Victory of Perseus, 2017 Kuksi's compositional techniques have antecedents that include the subversive Dada collage-makers and the Surrealists. [Extracted from the article]

No poema “Descrição da guerra em Guernica”, publicado no livro Entre duas memórias, o poeta português Carlos de Oliveira elabora em dez pequenas seções um exercício ekphrástico do quadro Guernica, de Pablo Picasso. O objetivo deste ensaio é pensar que, nesse exercício ekphrástico, o poeta elabora, na esteira do pensamento benjaminiano, uma teoria do testemunho histórico — narra uma catástrofe, estabelece um impasse na representação: como dizer desse trauma inscrito na história da humanidade? — e, na esteira do pensamento de Jorge de Sena, um testemunho poético — fazendo da pintura de Picasso uma constelação de significantes.

The Benedictine Archives at Lazkao contain a multitude of propaganda stickers and related visual media that provide a snapshot of the Basque region’s artful political culture in the 1970s and 1980s. Some of the most compelling examples include several items that remix Pablo Picasso’s Guernica, referencing the famous antiwar painting to become a form of mass-circulated pastiche. This move was somewhat unusual amid the strong nationalist bent of public discourse and art in the Basque Country during this period. Almost entirely unknown outside the region, these materials capture political performance during the decade-long period between the instauration of Spanish democracy (1978) and the fall of the Berlin Wall (1989), when separatist sentiment reached a peak in the Basque Country. This artful visual platform, rendered in the small, focused format of stickers, constitutes a useful index of rhetorical currents within the Basque Country and Spain, as well as an interesting analogue prototype of what we might call, in the twenty-first century, meme culture. Circulated in bars and other public places across the Basque region, and frequently worn upon clothing, the stickers demonstrate a propaganda principle described by Jonathan Auerbach and Russ Castronovo, whereby participants in movements of mass persuasion actively partake in the dissemination and consumption of propaganda. The stickers normally refer to very concrete events (for instance, a one-day celebration, a protest for a concrete situation, etc.). When organized on topics and themes, they create a nonlinear visual account of post-Franco Basque history, providing propaganda narratives that invite performative acts from the audience. This account documents the significance of the vast Benedictine collection for future scholars, analyzing, in detail, four stickers that employ Guernica in their design. It also considers several other representative items from the collections that play on other art forms, as well as pop culture, in their attempt to influence public opinion, politics, and media consumption.

In this essay, the author describes how the destruction wrought by the indiscriminate firebombing of a small Basque town during the Spanish Civil War came to inspire Pablo Picasso’s most famous painting, Guernica. [ABSTRACT FROM PUBLISHER]

This paper is a Jungian interpretation and exploration of nine paintings completed by Picasso in 1946 in Antibes, France, where he had moved at the end of the German occupation of Paris. The paintings depict the Roman mythological figure of the faun, which served as the agency for Picasso's archetypal imagination to explore his psyche and lead him on an internal journey to individuation. [ABSTRACT FROM AUTHOR]

In the present study, I will consider Leo Steinberg's interpretation of Picasso's work in its theoretical framework, and I will focus on a particular topic: Steinberg's account of "Picasso's Sleepwatchers." I will suggest that the Steinbergian argument on Picasso's depictorial modalities of sleep and the state of being awake advances the hypothesis of a new way of representing affectivity in images, by subsuming emotions into a "peinture conceptuelle." This operation corresponds to a shift from modernism to further characterizing the postmodernist image as a "flatbed picture plane." For such a passage, I will also provide an overall view of Cubism's main phenomenological lectures. [ABSTRACT FROM AUTHOR]

Octavio Paz analyzed painting from the perspective of a poet. Like his artistic mentor Charles Baudelaire, Paz featured two hard-to-find assets: he was a poet and a keen art critic. In this article the author discusses Octavio Paz's relationship between poetry and the visual arts and his role as art editor for the magazines Plural (1971-1976) and Vuelta (1976-1998). [ABSTRACT FROM AUTHOR]

All buildings have an impact on us, whether seeing and navigating through and around them for the first time or frequently. Their materiality interacts with us and the streetscape, contributing to our internal and external, sometimes received narrative. David Goldblatt, Emeritus Professor of Philosophy at Denison University in Ohio, explains this complex interrelationship and contemplates the effect new materiality might have on this symbiosis. [ABSTRACT FROM AUTHOR]

The Guyanese poet Grace Nichols’s ekphrastic poem “Weeping Woman” in her Picasso, I Want My Face Back challenges Pablo Picasso’s iconic status in twentieth-century art. Written in the form of a dramatic monologue, the poem gives voice to Picasso’s model, muse and lover, Dora Maar, who was a Surrealist photographer before she had an affair with Picasso. Unlike traditional ekphrastic poems which involve the description of a fixed, silenced and gazed beautiful image through a male persona who is also a gazer of that image in poetry, Nichols transforms Maar’s objectified position in Picasso’s painting into a subject by voicing her critique of the artist’s cubist art, his use of colors as well as his geometric figures, and of his maltreatment of her. Through this ekphrastic stance, Maar reconstructs her identity as a photographer and rids herself from the artist’s domination over her in his art and personal life. Hence, the aim of this article is to discuss in what ways Nichols’s poem problematizes the privileged status of the male artist over his silenced female model and acknowledges the artistic talent of the woman through the use of ekphrasis.

La comprensión de las relaciones y las representaciones sociales se da en el reconocimiento de sus articulaciones y contradicciones, tanto internas como con su entorno. Un análisis de las vanguardias artísticas del siglo XX, debe considerar la coyuntura de crisis de la modernidad capitalista, que propició su rivalidad con representaciones del arte burgués en una disputa por la realidad y el arte bajo la idea de transformación de la realidad en la búsqueda del progreso absoluto y la abundancia –objetos del deseo moderno–. La literatura de Pablo Palacio y la pintura de Pablo Picasso ilustran el vínculo entre vanguardias artísticas y arte burgués moderno, en su identificación con los mismos objetos de deseo y la convivencia de opuestos en esta unidad histórica, evidenciando la contradicción de la revolución vanguardista y su “espíritu de la utopía” moderno.

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Made on the fringes of the Hollywood industry in 1969, Lions Love (... and Lies) is little known in Agnès Varda's filmography. Instead of considering it as an isolated experimental attempt or as an ephemeral digression, the author argues that Lions Love occupies a pivotal position in Varda's cinema. The film brings to the fore key theoretical aspects of her aesthetics, such as the use of the classical arts as a source of inspiration filtering through the mise en scène and contrasting with its modernist features, the emphasis on the tangible reality of the cinematic medium, and finally the exhibition of the filmmaker's practice. For the first time in her career, Varda appears herself behind and before the camera. In this perspective, the author suggests analysing Lions Love in relation to her later films such as Les Glaneurs et la glaneuse (2000), which develops similar ideas, gestures and motifs. Inspired by Andy Warhol and pop art, but also by Picasso's neoclassical etchings, Varda creates a self-reflexive collage in which she idealises the craft of filmmaking in response to the Hollywood industry. [ABSTRACT FROM AUTHOR]

At the Second International Congress of Antifascist Writers César Vallejo viewed Guernica, Pablo Picasso’s masterpiece that influenced Vallejo’s magnificent collection of poems Spain, Take This Cup from Me. Both works and their numerous manuscripts and sketches reveal the dialog between Picasso and Vallejo within a rupture that they create in order to build a new humanity. Both artists erase the concept of enemy and focus on the victims instead, raise the notion of politics from mere ideology to a natural human preoccupation and strive to rebuild the humanity with the people's art as its fabric since it is humanity, not politics, that nourishes their art, and it is the people's art that sustains the humanity.